The Artist and Academia explores the relationship between artistic and academic ways of knowing. Historically, these have often been presented as opposites; the former characterized as passionate and intuitive and the latter portrayed as systematic and rigorous. Recent scholarship presents a more complex picture. Artistic knowledge demands high levels of skill and rigor, while academic research requires creativity and innovative thinking. This edited collection brings together leading artists and scholars (as well as artist-scholars) to offer a variety of philosophical, educational, experiential, reflexive and imaginative perspectives on the artist and academia. The contributions include in-depth, scholarly discussions on the nature of knowledge and creativity, as well as personal artistic statements from musicians, dancers, actors and writers. Additionally, it explores both the mediational and subversive spaces created by the meeting of artistic and academic traditions. While the book addresses global themes by global writers, its core case study is an educational experiment called the Irish World Academy of Music and Dance at the University of Limerick in Ireland. Established in 1994, it set out to reconfigure the place of the artist in the context of contemporary higher education. The material is clustered into three parts. Part One and Part Two explore the artist as mediator, educator and subversive in academia. Grounded in close-to-practice research, Part Three concludes the volume with a set of case studies from the Irish World Academy. Artistic and academic knowledge come together in this unique set of pieces to explore the development of more inclusive and imaginative pedagogical values.

"Academics, Artists, and Museums examines twenty-first century partnerships between the museum and higher education sectors, with a focus on art museums and exhibits"--

A finalist for the National Book Critics Circle Award, this memoir of one woman's later in life career change is “a smart, funny and compelling case for going after your heart's desires, no matter your age” (Essence). Following her retirement from Princeton University, celebrated historian Dr. Nell Irvin Painter surprised everyone in her life by returning to school––in her sixties––to earn a BFA and MFA in painting. In Old in Art School, she travels from her beloved Newark to the prestigious Rhode Island School of Design; finds meaning in the artists she loves, even as she comes to understand how they may be undervalued; and struggles with the unstable balance between the pursuit of art and the inevitable, sometimes painful demands of a life fully lived. How are women and artists seen and judged by their age, looks, and race? What does it mean when someone says, “You will never be an artist”? Who defines what an artist is and all that goes with such an identity, and how are these ideas tied to our shared conceptions of beauty, value, and difference? Bringing to bear incisive insights from two careers, Painter weaves a frank, funny, and often surprising tale of her move from academia to art in this "glorious achievement––bighearted and critical, insightful and entertaining. This book is a cup of courage for everyone who wants to change their lives" (Tayari Jones, author of An American Marriage).

What is our Role?: Artists in Academia and the Post-Knowledge Economy brings to the page a selection of inspired negotiations of the role of the artist in academia by four artist-scholars.

He also addresses the phenomenon of art critiques as a microcosm for teaching art as a whole and dissects real-life critiques, highlighting presuppositions and dynamics that make them confusing and suggesting ways to make them more helpful. Elkins's no-nonsense approach clears away the assumptions about art instruction that are not borne out by classroom practice. For example, he notes that despite much talk about instilling visual acuity and teaching technique, in practice neither teachers nor students behave as if those were their principal goals. He addresses the absurdity of pretending that sexual issues are absent from life-drawing classes and questions the practice of holding up great masters and masterpieces as models for students capable of producing only mediocre art. He also discusses types of art--including art that takes time to complete and art that isn't serious--that cannot be learned in studio art classes.

"Few sites within the university open a richer critical reflection than that of the M.F.A., with its complex crossing of professionalism, theory, humanistic knowledge, and the absolute exposure of practice. Howard Singerman's Art Subjects does a magnificent job of both laying out our current crises, letting us see the shards of past practices embedded in them, and of demonstrating—rendering urgent and discussable—what it now means either to assume or award the name of the artist."—Stephen Melville, author of Seams, editor of Vision and Textuality "Art Subjects is a must read for anyone interested in both the education and status of the visual artist in America. With careful attention to detail and nuance, Singerman presents a compelling picture of the peculiarly institutional myth of the creative artist as an untaught and unteachable being singularly well adapted to earn a tenure position at a major research university. A fascinating study, thoroughly researched yet oddly, and movingly, personal."—Thomas Lawson, Dean, Art School, CalArts

This book is the second, extended edition of the first of its kind. It is a resource to help people artists, teachers, administrators, and students assess and compare programs for a new PhD in Studio Art. "A PhD in art is inevitable, and so best to explore the implications of this seemingly inevitable development." -David Carrier, Champney Family Professor, Case Western Reserve University/ Cleveland Institute of Art. "I find this book to be fascinating and thought-provoking material." -Andrew E. Hershberger, Associate Professor of Contemporary Art History, Bowling Green State University. "It is especially timely that a book addressing the many concerns regarding this degree should appear in the US market." -Tom Huhn, Ph.D., Chair Visual & Critical Studies, Art History School of Visual Arts, New York. "The book is organized as a constructive debate that encourages people to engage with the issues." -Lynette Hunter, Professor of the History of Rhetoric and Performance and Director UC Multicampus Research Group in International Performance and Culture, University of California Davis. "This book furthers the debate by opening various windows on the discussion of studio art." -Harold Linton, Chair Department of Art and Visual Technology, College of Visual and Performing Arts George Mason University. "We are in the midst of a paradigm shift.The range of viewpoints presented in this collection will help spur the debate and contribute to clarifying what is at stake." -Saul Ostrow, Chair, VisualArts and Technologies, Cleveland Institute of Art

This book delves into the conflicts, contradictions and paradoxes inherent in the lives of women who, as artists and academics, seek to connect their personal and professional lives in their work. It explores how creativity and the pursuit of self-knowledge relate to their lives and arises from the author's own experience as a woman, writer, and academic. Inquiries into creativity and feminist critical and cultural theory provide the framework for examining how the identity of the female artist is shaped within the patriarchal institution of academia. These inquiries allow a deeper understanding of the impact of this institution on the life and work of the female artist both within and beyond academia. As an auto-ethnographic study, Kamanos' distinctive voice is developed through narratives, journals, letters and a development of personal metaphors, as well as with a dialogue with others. As performative text, the narratives map a process of transformation that traces the artist's path from silence to voice. This book has important implications for women in higher education as self-study is revealed to be an essential methodological instrument for the articulation of alternative, authentic perspectives of marginalized and under-represented women. Moreover, the acknowledgement of the academic/ artist paradigm in teacher education opens the path for a re-viewing of the metaphors of self-denial, impersonation and masks that are part of the landscape of teacher knowledge.

Assembled from the wisdom of 36 legendary art teachers – all of them artists or critics at the top of their field – Akademie X: Lessons in Art + Life is an ideal curriculum for the aspiring artist. Each of the book’s "tutors" has provided a unique lesson that aims to provoke, inspire and stimulate the aspiring artist. These lessons cover some combination of the following: technical advice (e.g. don’t make a sculpture bigger than your studio door), assignments (some of which will take five minutes to complete, others five years), tips for avoiding creative ruts (including suggestions for mind‐expanding materials to read, watch or listen to), principles of careful looking (demonstrated with images of artworks, photographs, films or even billboard advertisements), advice on the daily practice of art (how to balance time alone in the studio with building an artistic community), career pointers (how to prepare for a studio visit from a curator or gallerist) and personal anecdotes (e.g. stories from the instructor’s own humble beginnings). Taken together, these lessons offer the reader a set of tools for thinking, seeing and living as an artist. Not only is Akademie X: Lessons in Art + Life the first illustrated text book of its kind for artists, but it will also appeal to anyone interested in contemporary art, providing first hand revelations into the philosophies and techniques of some of the world’s best artists and writers.

Photography, Life, and the Opposites is about what makes for beauty not only in the author's chosen art, but in all the arts. And it is about life, and how art can teach us to live it. It is based on this extraordinary principle of Aesthetic Realism stated by its founder, Eli Siegel: "All beauty is a making one of opposites, and the making one of opposites is what we are going after in ourselves." To illustrate this Len Bernstein has chosen over 70 of his photographs, many of which are in museum collections in the US and abroad, as well as photographs by others. Together with the text, they are a means of asking: What does it mean to have a beautiful way of seeing, a way of seeing that will make us proud? And what stops us from having it?